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Our Dental Hygienist Inita Čeire (SIROWA Riga dental Clinic) explained the main factors that we should focus on choosing toothpaste or mouth wash as well as warned about bad ingredients into dental care products that really can leave bad impact to our health generally.
Our Dental Hygienist Inita Čeire (SIROWA Riga dental Clinic) explained the main factors that we should focus on choosing toothpaste or mouth wash as well as warned about bad ingredients into dental care products that really can leave bad impact to our health generally.
Our Dental Hygienist Inita Čeire (SIROWA Riga dental Clinic) explained the main factors that we should focus on choosing toothpaste or mouth wash as well as warned about bad ingredients into dental care products that really can leave bad impact to our health generally.
This week our clinic honored the Environmental Film Production Studio’s creative team (Vides Filmu studija) that had chosen our clinic for video shooting that going to rise awareness about oral hygiene production impact to human health and environment. Together with our dental hygienist Inita we discovered the bad ingredients into tooth pastes – are toothpastes really good for our teeth and environment?
Our Dental Hygienist Inita Čeire (SIROWA Riga dental Clinic) explained the main factors that we should focus on choosing toothpaste or mouth wash as well as warned about bad ingredients into dental care products that really can leave bad impact to our health generally.
Follow us @:
twitter.com/#!/sirowaclinic
Nave, Basilica di Sant'Apollinare Nuovo, Ravenna; taken with a Canon EOS 1v.
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The Basilica di Sant'Apollinare Nuovo is a 6th-century church in eastern Ravenna. Named for Ravenna's first bishop, it is famed for its two side walls full of figurative mosaics dating from c.500 (under the Arian king Theodoric) and c.560 (under Catholic administration).
This basilica was built by Theodoric sometime after 500 AD as an Arian cathedral (in the same era as the Arian Baptistery) dedicated to Christ; it was converted into a Catholic church dedicated to St. Martin around 560.
The dedication was changed again in the 9th century to St. Apollinare, first bishop of Ravenna, when the saint's relics were moved here from Sant'Apollinare in Classe for protection from pirate raids.
The basilica's present name, the "New Basilica of St. Apollinaris," does not mean it is newer than its namesake in Classe - it is actually several decades older. Instead, the "Nuovo" was added to distinguish it from another church of St. Apollinaris in the city, which has since disappeared.
The apse of Sant'Apollinare Nuovo was originally covered in mosaics like the walls, but these were unfortunately removed during 16th century renovations. The present apse and porch date from the 16th and 18th centuries.
Along with other ancient monuments in Ravenna, Sant'Apollinare Nuovo was added to the UNESCO World Heritage List in 1995. The advisory body remarked, "Both the exterior and the interior of the basilica graphically illustrate the fusion between the Western and eastern styles characteristic of the late 5th-early 6th century. This is one of the most important buildings from this period of crucial cultural significance in European religious art."
The interior of the church measures 138 by 69 feet and contains 24 marble columns from Constantinople. Greek monograms can be seen in many of the capitals; these are markers of the workshops in which they were made. The present floor level is four feet higher than the original height, which occurred during restorations at the beginning of the 16th century.
sacred-destinations.com/italy/ravenna-st-apollinare-nuovo
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Of all the Ravenna basilicas, S. Apollinare Nuovo has the richest history. It is in fact, in the history of the 6th century, a synthesis of the Ostrogoth reign of Theodoric and the empire of Justinian. Though it has lost the name and the icon of Theodoric, a representation of Justinian remains.
Palatine basilica of Theodoric's court, it held claims (in one sense justified) to set itself up against the imperial palatine basilica of S. Giovanni Evangelista built by Galla Placidia. Theodoric, who was to set his superb Mausoleum against the Mausoleum of Galla Placidia, set his palatine basilica against that of Galla Placidia, representative of the great Flavian-Valentinian-Theodosian imperial dynasty. Theodoric's claims must have been supported, at least in part, by several Catholic bishops and Roman senators. These were the high ranking people who frequented the basilica, at least for court ceremonies. This glorifying of Theodoric's power is portrayed in the great mosaics of the Palatium (with the city of Ravenna) and the Portus (with the city of Classe).
There are many mosaics of ancient cities but none equals Theodoric's idea of appropriating Ravenna by portraying it dominated by his own palace and by the Ostrogoth court, represented by personages subsequently cancelled out by the Catholic archbishopric chancery: personages who clearly appeared in the arches of the palace.
But Theodoric, who exalted classical Greek and Latin culture and accompanied it with the culture of the Goths, wanted to show his regal political power joined with the power of Christus Rex who was placed on the right hand wall flanked by the four Archangels. Thus, on the opposite wall, Mary with Christ the blessing lawgiver (in symbols of the wisdom of government), in a Christian tradition that exalted the Arian barbarians. But it was with the great work between the windows that Theodoric legitimized the prestige of his culture and power: thirty-six figures of prophets, apostles and evangelists with Codes, books and scrolls. Above the windows were placed, thirteen to each part, the essential Christological depictions of the public life, passion, death and resurrection of the Savior to whom the Basilica was dedicated and whose name it bore. A historic, artistically sublime monument which archbishop Agnello was to modify in accordance with his Catholic culture, removing the Aryan magistrates and integrating the three Kings and male and female saints into the procession. The building remained uniform because the numerous figures of saints, taken from earlier mosaics and Catholic liturgical literary texts, go well with the thirty-six figures of the Prophets: St. Martin and St. Euphemia are placed symbolically at the head of the procession for their anti-Arian religious vocation. The result is a communio sanctorum as a synthesis of high symbolic meaning.
initaly.com/regions/byzant/byzant4.htm#basnuo
Inita Čeire was born in 1975. In 1995, she graduated the 1st Riga Medical School as a dental nurse. Afterward she studied at the Latvian School of Dental Hygiene of the Latvian Medical Academy, graduating it in 1998 as a professional hygienist. From 2001 until 2003, she has been a member of the Board of the Latvian Dental Hygienists Association, taking advantage of further postgraduate education courses. In 2003 Inita was awarded a Chicago Center for Advanced Dentistry Diploma in Non-surgical Periodontics. In 2007, she graduated from the College of Social Work and Social Pedagogy “Attistiba” (eng. Development) as a social pedagogue, and in the same year, she received a “Brite Smile” certificate in professional teeth whitening. Therefore she is qualified to perform the “BriteSmile” professional teeth whitening procedure. On a regular basis, she improves her knowledge by attending further postgraduate education courses organized by the Latvian Association of Dentists and Hygienists and other courses.
Presbytery and Apse, Basilica di Sant'Apollinare in Classe, Ravenna; taken with a Canon EOS 1v.
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The Presbytery and Apse Mosaics
The apse mosaic dates from the 6th century and depicts two scenes that blend into each other. At the top is an interestingly symbolic depiction of the Transfiguration (Matthew 17:1-9, Mark 9:2-8, Luke 9:28-36). Christ is represented by a golden cross on a starry blue background, while the three apostles who were present at the Transfiguration - Peter, James and John - are represented by lambs. Flanking the cross against a backdrop of golden skies and sunset-tinged clouds are figurative depictions of Moses and Elijah, labeled with their names.
The large cross is decorated with mosaic gems and a bust of Christ in the center. It has a Latin inscription at its base reading SALVS MVNDI, "Salvation of the World" and a Greek inscription at the top: IXΘYC. This means "fish" in Greek and is also an anagram of the names of Christ: Jesus Christ Son of God Savior."
Below this scene is the namesake of the basilica, St. Apollinaris, labeled with the inscription SANCTVS APOLENARIS. He wears a white dalmatic and purple tunic, the latter embroidered with bees to symbolize eloquence. He is shown in prayer, interceding on behalf of his flock who are represented below by lambs. This is the first known example of choosing a subject other than Christ in Majesty for the apse decoration.
Around the saint is a soft green backdrop populated with rocks, birds, and plants. Among the greenery are pine trees, which can still be seen growing outside the church.
The back wall of the apse between the windows bears mosaic portraits of four Ravenna bishops: Severus, Ecclesius, Ursus and Ursicinus.
The mosaics on the side walls of the apse date from the 7th century. The left wall of the presbytery shows Emperor Constantine IV Pogonatus and his brothers Heraclius and Tiberius handing the "Priviliges" to Reparatus, delegate of Bishop Maurus (671-77).
The right wall shows three Old Testament figures who made sacrifices to God: Abel with his perfect lamb, Melchizadek at a table with his bread, and Abraham with his son Isaac. The theme of sacrifice is related to the Eucharist, which was performed at the high altar beneath the mosaic.
sacred-destinations.com/italy/ravenna-st-apollinare-in-classe
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SANCTUS APOLENARIS, we read in the center of the apse. A solemn inscription which transmits its capital meaning in capital letters. Thus sanctus Vitalis in S. Vitale: titles and figures, somehow central, but the pregnancy of ancient hagiographic devotion is greatly surpassed in the polysymbolism. In fact the true centre of this ecclesiastic basilica, which was intended to serve for the celebration of the Eucharist, is occupied by one of the most splendid (if not the most splendid) theophanies of Christian antiquity: the great symbolic transfiguration which, a robust treatise of symbolic-mystical theology, occupies the whole apse vault. The glorious cross of the resurrection (metamorphosis of the execution-cross of Golgotha) stands in a dominant position and represents Christ himself, protagonist of the transfiguration. The sheep on the right of the Cross (Christ's right) is Peter, the first disciple.
There follow, on the left, another two sheep: James and John. Whereas the two prophets Moses and Elijah (representing the Law and the Prophets) are portrayed in busts. Moses, on Christ's right, is beardless (because he is a prototype of Christ) while Elijah is on the left (Cf. Mark 9, 2-13).
One who interpreted the Cross and the Prophets in an exclusively eschatological sense (E. Dinkler) admitted finding difficulty in explaining the presence of Apollinare, and even more that of the hand of the Father which appears in the golden sky high above the cross. But if the transfiguration is interpreted as a symbol of Easter, and Easter as an offering, a sacrifice, Holy Communion of the Lamb (and of the Cross), we can better explain how the hand of the Father receives the eucharistic sacrifice (the Mass): a Sacrifice offered for the church and the community of the faithful of the Bishop Pastore Sacerdos who is S. Apollinare. In fact the twelve sheep which, six to a side, go towards Pastor Apollinare represent the church of Ravenna which shares in celebration of the Mass and in response to Apollinare's "Mystery of the Faith!" sings, "We announce your death Lord; we proclaim your resurrection; in awaiting your coming." There is eschatology in this awaiting, but all the rest is what went before: Passion, Death and Resurrection at Easter. The four bishops in the four spaces between the windows should be interpreted in this way, that is to say, in the ecclesiastic and eucharistic sense. Founders of churches (the very first, small and no longer extant sanctus Severus; the cathedral sanctus Ursus; S. Vitale Ecclesius, S. Apollinare in Classe Urcinus) they are the historical support of the Ravenna hierarchy, the preachers of the Gospel (which they hold in their hands), the heads of the liturgical congregation of the people of God of the New Testament, inaugurated by sanctus Apolenaris.
initaly.com/regions/byzant/byzant4.htm#santclas
PLEASE NOTE THAT THIS DESCRIPTION HAD BEEN ALTERED AS TO DATE AND ORIGIN.
This is a leaf from an early copy of Gregorius Magnus "Moralia in Iob" that was written c.775-800 probably in Switzerland at Saint Gallen near Lake Constance.
The text is from Book 33, Chapter 15 of the Morialia.
There are 30 lines in a pre Carolingian minuscule in dark brown/black ink and without rubrics.
Letter forms and various different ligatures initaly make the text quite difficult to read but it does quickly become manageable. The following should be noted: -
The diphthong “ae” - of the 20 occasions needed it is written out in full 15 times, as “e” with cedilla once (verso line 12) and as “e” only twice (recto line 8 and verso line30).
The letter “a” - written as “cc” on 210 occasions (including in diphthong), as “oc” twice (recto line 20 “valde” and verso line 10 “bona”) and with an uncial “a” twice (recto line 8 “di ma” and recto line 9 “avis”).
The letter “r” is in ligature with most letters that come after it and often has a long descender.
Tletter “e” is in ligature with most letters that come after it.
The letter “g” always has both bowls open as a “3”.
Ascenders and descenders are always long in “b”, “d”, “f”, “h” and “p”, and are sometimes clubbed.
Some examples of words that are very difficult read are as follows: -
Verso, line28 “teneret” Recto, line 28 “vero”
Recto, line 16 “serpens”
Word separation is not always as good as it could be which adds to the difficulty of reading the text.
The leaf has no illumination or decoration of any description.
The leaf is ruled in blind on the verso and prickings remain in the outside margin for all horizontal lines.
The size of the leaf is 257mm x 176mm (10 1/10ins. x 6 9/10ins.).
The size of the text block is 232mm x 140mm (9 1/10ins. x 5 1/2ins.).
PURCHASE DETAILS: -
Purchased from Giuseppe Solmi, 40064 Ozzano Dell'Milia, Italy.
PROVENANCE: -
1. Expert opinion has been obtained indicating that the leaf is similar to manuscripts of scribes active, when Abbot Werdo (784-812) was abbot in Saint Gallen and pointing out that Saint Gallen manuscripts Codd. Sang 6 (i.e. p.2,12); Cod. 44 (i.e. p.85); Cod. 125 (i.e. p. 109); or Cod. 567 (i.e. p.135) are quite similar.
2. Obtained by Mr. Solmi in a small collection from a collector and manuscript expert in Paris, a Mr. De Coligny.
3. Received with Export Licence No. N. 342 dated 7th. July 2016 issued by the Italian authorities.
CONDITION: -
It looks as though the leaf has been used as part of a binding or as part of a folder. The top margin has been removed (without taking any of the text) and it is now somewhat rough, as is the inside margin. There is a natural flaw in the bottom margin that has been extended a little to the left by another very small loss of velum. The text at the inside edge at the bottom half of the recto, and in the bottom two lines particularly, is somewhat worn with the loss of a few letters. There are 17th./18th. Century notes on either side which do not detract and whilst the recto has browned the verso is quite bright. Overall, considering that the manuscript is all of 1200 years old, it is in very good condition.
GENERAL COMMENTS: -
This leaf is a truly superb addition to the collection. It is of great rarety.
This week our clinic honored the Environmental Film Production Studio’s creative team (Vides Filmu studija) that had chosen our clinic for video shooting that going to rise awareness about oral hygiene production impact to human health and environment. Together with our dental hygienist Inita we discovered the bad ingredients into tooth pastes – are toothpastes really good for our teeth and environment?
Our Dental Hygienist Inita Čeire (SIROWA Riga dental Clinic) explained the main factors that we should focus on choosing toothpaste or mouth wash as well as warned about bad ingredients into dental care products that really can leave bad impact to our health generally.
Follow us @:
twitter.com/#!/sirowaclinic
Inita Čeire was born in 1975. In 1995, she graduated the 1st Riga Medical School as a dental nurse. Afterward she studied at the Latvian School of Dental Hygiene of the Latvian Medical Academy, graduating it in 1998 as a professional hygienist. From 2001 until 2003, she has been a member of the Board of the Latvian Dental Hygienists Association, taking advantage of further postgraduate education courses. In 2003 Inita was awarded a Chicago Center for Advanced Dentistry Diploma in Non-surgical Periodontics. In 2007, she graduated from the College of Social Work and Social Pedagogy “Attistiba” (eng. Development) as a social pedagogue, and in the same year, she received a “Brite Smile” certificate in professional teeth whitening. Therefore she is qualified to perform the “BriteSmile” professional teeth whitening procedure. On a regular basis, she improves her knowledge by attending further postgraduate education courses organized by the Latvian Association of Dentists and Hygienists and other courses.
sirowaclinic.com/en/about-us/ourteam/inita-ceire/
Inita Čeire was born in 1975. In 1995, she graduated the 1st Riga Medical School as a dental nurse. Afterward she studied at the Latvian School of Dental Hygiene of the Latvian Medical Academy, graduating it in 1998 as a professional hygienist. From 2001 until 2003, she has been a member of the Board of the Latvian Dental Hygienists Association, taking advantage of further postgraduate education courses. In 2003 Inita was awarded a Chicago Center for Advanced Dentistry Diploma in Non-surgical Periodontics. In 2007, she graduated from the College of Social Work and Social Pedagogy “Attistiba” (eng. Development) as a social pedagogue, and in the same year, she received a “Brite Smile” certificate in professional teeth whitening. Therefore she is qualified to perform the “BriteSmile” professional teeth whitening procedure. On a regular basis, she improves her knowledge by attending further postgraduate education courses organized by the Latvian Association of Dentists and Hygienists and other courses.
sirowaclinic.com/en/about-us/ourteam/inita-ceire/
The town of Orvieto is located in the Umbria region of central Italy. It is situated atop an isolated rock 195 m above the junction of the Paglia and Chiana rivers.
The work for Orvieto Cathedral construction started in 1263 under the pontificate of Urbano IV.
The Pope wanted to consecrate in this way the so-called "miracolo del sangue": during a Mass officiated by a Bohemian priest in the Saint Cristina Church in Bolsena, during the Eucharest, blood gushed out from the broken Bread and fell on the body, now sealed into a beautiful Gothic Reliquary.
The visitor's attention is immediately drawn by the wonderful Gothic facing, on which one notes a polyptych decoration of mosaic works and bas-reliefs . Inside, some chapels are structured with cross vaults, some of which embellished by very important frescos painted by Frà Giovanni from Fiesole and by Luca Signorelli. In the transept one may admire a Pity from the 16th Century.
To read more:
On my second day in Athens, back in 1976, my travelling companion and I were befriended by a gregarious young Greek woman, and spontaneously invited to share supper at her mother's house. We feasted on simple fare: chicken and potatoes, roasted with garlic and lemon, I remember; it is a dish I still make often. And the unexpected hospitality was as delicious as the food.
In Italy, in Corniglia, in May, I secretly hoped that one of these sturdy housewives would turn around and offer to cook us a midday meal...oh, trenette con pesto, perhaps, with fresh peaches and strawberries for dessert?
One didn't, needless to say. I would have had a totally different picture if one had.
2017. gada 26. septembrī Ārlietu ministrijā (ĀM) norisinājās darba grupas diasporas politikas jautājumos sēde, kurā diasporas organizācijas un sadarbības partneri diskutēja par Latvijas diasporas politikas nākotni un remigrējušo bērnu un jauniešu integrāciju Latvijas skolās un augstskolās, kā arī citiem diasporai aktuāliem jautājumiem. Sēdi vadīja Ārlietu ministrijas speciālo uzdevumu vēstnieks diasporas jautājumos Atis Sjanīts, kurš, atklājot diskusiju par remigrējušo bērnu integrāciju Latvijas skolās, uzsvēra: “Šis ir viens no galvenajiem valsts uzdevumiem remigrācijas kontekstā.”
Izglītības un zinātnes ministrijas (IZM) valsts sekretāra vietniece Gunta Arāja informēja par remigrantu skolas vecuma bērnu integrēšanos Latvijas skolās un diasporas bērnu un jauniešu citās valstīs iegūto izglītības dokumentu atzīšanu mācībām un studijām Latvijā. Jaunā mācību gada sākumā G. Arāja iepazīstināja ar atbalsta pasākumiem skolēniem, kuri iepriekš mācījušies Latvijā, kā arī tiem, kuri zinību pamatus Latvijā līdz šim nav apguvuši, un sniedza aktuālo informāciju par sasniegto Latvijas skolu sistēmā un svarīgākajiem jautājumiem. IZM pārstāve arī informēja par līdzšinējo atbalstu izglītības iestādēm un pedagogiem, uzsverot pašvaldību un skolu administrāciju lomu diasporas bērnu un jauniešu integrācijā skolās. Diskusijā tika uzsvērts, ka atbalsts bērnu un jauniešu remigrācijai ir viens no būtiskākajiem jautājumiem remigrācijas kontekstā, ievērojot prioritāti un atbalstu, ko diasporas latviskajai izglītībai piešķir valdība. Daudziem šogad mācības Latvijas skolās un augstskolās uzsākušajiem remigrantu bērniem un jauniešiem šis jautājums ir aktuāls, tāpēc valstiskā līmenī ir nepieciešama vienota izpratne un rīcība šo skolēnu integrēšanai.
Latvijas Universitātes Diasporas un migrācijas pētījumu centra (LU DMPC) direktore Inta Mieriņa iepazīstināja ar analītiskā pārskata „Vienojošas nacionālās identitātes un kultūrtelpas nostiprināšana” diasporas sadaļu par priekšlikumiem sabiedrības integrācijas politikas plānam 2019.-2025. gadam. Ekspertu ziņojums sagatavots pēc Kultūras ministrijas pasūtījuma un ietver pārskatu par diasporas politikas attīstību un mērķi, kurā iekļauts situācijas raksturojums, galvenās problēmas un risinājuma virzieni. Ziņojumā ir apkopoti ekspertu diskusijā noteiktie uzdevumi diasporas politikas jomā un priekšlikumi jaunajam politikas plānam.
Diskusijā par Latvijas diasporas politiku izskanēja aicinājumi iesaistīt diasporas pārstāvjus politikas satura veidošanā un plāna izstrādē, apzinot prioritātes valsts un diasporas sadarbības stiprināšanai. Kultūras ministrijas (KM) valsts sekretāra vietniece Inita Pauloviča informēja, ka KM ir izstrādājusi sabiedrības saliedētības programmu, kuras daļa pašlaik ir arī diaspora, aicinot piedalīties šīs programmas publiskā apspriešanā.
Darba grupas dalībnieki diskutēja par diasporas politiku, kam jābūt daļai no valsts kopējās stratēģijas, un tā ir nesaraujami saistīta ar remigrāciju. Apzinoties ĀM vadošo lomu diasporas politikas īstenošanā, ministrija arī turpmāk veicinās tās koordināciju visos līmeņos.
Apkopojot diskusijas rezultātus, vēstnieks A. Sjanīts pateicās LU DMPC direktorei I. Mieriņai par ieguldīto darbu, gatavojot analītisko pārskatu diasporas jomā. Viņš uzsvēra, ka tas ir pēdējā laika apjomīgākais dokuments par diasporas problēmjautājumiem un nepieciešamajiem risinājumiem valsts līmenī.
Darba grupas sēdē piedalījās Pasaules Brīvo latviešu apvienības valdes priekšsēdis Jānis Kukainis un valdes locekļi, Eiropas Latviešu apvienības priekšsēdētājs Kristaps Grasis, kā arī pārstāvji no Kultūras, Izglītības un zinātnes un Ekonomikas ministrijām, Latviešu valodas aģentūras, Latvijas Investīciju un attīstības aģentūras, Sabiedrības integrācijas fonda, LU DMPC, Valsts izglītības satura centra, Latvijas Nacionālā kultūras centra un remigrantu biedrības „Ar pasaules pieredzi Latvijā”.
16. novembrī vēstnieks Indijā Aivars Groza ar dzīvesbiedri Sandru Grozu rīkoja pieņemšanu, kurā tika izrādītas latviešu mākslinieces Initas Rudzītes darinātās rotas un mākslinieces Laimas Kaugures lina izstrādājumu kolekcija. Prezentāciju apmeklēja diplomātiskā korpusa, kā arī Indijas kultūras un uzņēmējdarbības jomu pārstāves.
Foto: Latvijas vēstniecība Indijā
This week our clinic honored the Environmental Film Production Studio’s creative team (Vides Filmu studija) that had chosen our clinic for video shooting that going to rise awareness about oral hygiene production impact to human health and environment. Together with our dental hygienist Inita we discovered the bad ingredients into tooth pastes – are toothpastes really good for our teeth and environment?
Our Dental Hygienist Inita Čeire (SIROWA Riga dental Clinic) explained the main factors that we should focus on choosing toothpaste or mouth wash as well as warned about bad ingredients into dental care products that really can leave bad impact to our health generally.
Follow us @:
twitter.com/#!/sirowaclinic
Interior showing part of the octagonal plan and presbytery; taken with a Canon EOS 1v.
The great cupola is decorated with uninteresting 18th-century murals, but the remainder of the interior is fully Byzantine and provides an authentic atmosphere of antiquity. And most famously, the ceilings of the choir and apse glitter with magnificent Byzantine mosaics in green and gold.
The arch that marks the entrance into the presbytery is decorated with large mosaic medallions of Christ (with beard), the Twelve Apostles, and two other saints who are probably Gervasius and Protasius, sons of St. Vitalus. Each apostle has a different appearance and hairstyle - don't miss the Einstein-like hair on St. Andrew! Surrounding the medallions are pairs of dolphins with their tails crossed, globes and crosses.
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The mosaics in the Basilica di S. Vitale are certainly the most organically important mosaic complex of late-antique Christian art.
The unity and the perfection of style combine with a political- religious thought which no other mosaic or literary work succeeds in fully celebrating, with regard to the empire of Justinian (and Theodora), as do the articulated cycles of the S. Vitale apse and presbytery.
Celebration of Justinian's empire does not rest only in the imperial works with the Emperor and the Empress: celebration is closely linked with the reign and empire of Christ Almighty, demonstrated with the chief signs of power: the cosmic globe as a throne and, in the left hand, the scroll (the Book) of the Law, which is to say the Wisdom that rules the world. And while the Archangels Michael on the right and Gabriel on the left represent the eternal court of Christ (eternal in the youthful expression of the beardless face placed out of time), the figures of the soldier martyr Vitale and the bishop Ecclesius join a temporal history in which Justinian's terrestrial empire exists, with the idea of a reign without end.
The arch of the apse with its imperial eagles bearing the monogram of Christ and the cornucopias which express the riches of the empire, in the Roman tradition of imperial triumph, link the political dimension with the religious. Concrete history is shown by the emperor's and archbishop Maximianus' unity of intent, the latter immortalizing himself in this doctrinal synthesis by signing the work clearly in the Latin version of his name.
In the presbytery, near the imperial pictures, are four scenes from the life of Moses: the liberating prophet, lawgiver, great leader, prototype emperor, author of the Book of Civil Law. Still in the presbytery, the imposing figures of the prophets Isaiah and Jeremiah, from the Old Testament, and the Four Evangelists from the New Testament represent the bearing witness, both historical and of the faith, of what is illustrated with regard to unity of Church and Empire, Empire and Priesthood. In the triumphal arch of the same presbytery everything is sealed by the Christ with his Apostles (to whom, for devotional reasons, are added S. Gervasio and S. Protasio, considered sons of S. Vitale). And the religious aspect comes once more to the fore in the sublime and celestial triumphal centrality of the Lamb of the Apocalypse. This is Christ himself (in a heaven of twenty-seven stars, a threefold and Trinitarian number and symbol) who reigns forever, announced in the time of providential prophetic history by the biblical sacrifices of Abel and Melchizedek on the right, and Abraham on the left. In the presbytery, at the center of the wall above the arch of the apse, between the symbolic cities of Jerusalem and Bethlehem, there is the solar symbol with Alpha at the center, meaning Christ creator, with the emanation of rays, of the cosmos and the historical world. A clear triumph over the Ostrogoths and all the barbarian peoples (Visigoths, Vandals) who invade the Empire. But being Arian they are overcome by Justinian's anti-Arian faith.
initaly.com/regions/byzant/byzant4.htm#sanvit
16. novembrī vēstnieks Indijā Aivars Groza ar dzīvesbiedri Sandru Grozu rīkoja pieņemšanu, kurā tika izrādītas latviešu mākslinieces Initas Rudzītes darinātās rotas un mākslinieces Laimas Kaugures lina izstrādājumu kolekcija. Prezentāciju apmeklēja diplomātiskā korpusa, kā arī Indijas kultūras un uzņēmējdarbības jomu pārstāves.
Foto: Latvijas vēstniecība Indijā
Inita Čeire was born in 1975. In 1995, she graduated the 1st Riga Medical School as a dental nurse. Afterward she studied at the Latvian School of Dental Hygiene of the Latvian Medical Academy, graduating it in 1998 as a professional hygienist. From 2001 until 2003, she has been a member of the Board of the Latvian Dental Hygienists Association, taking advantage of further postgraduate education courses. In 2003 Inita was awarded a Chicago Center for Advanced Dentistry Diploma in Non-surgical Periodontics. In 2007, she graduated from the College of Social Work and Social Pedagogy “Attistiba” (eng. Development) as a social pedagogue, and in the same year, she received a “Brite Smile” certificate in professional teeth whitening. Therefore she is qualified to perform the “BriteSmile” professional teeth whitening procedure. On a regular basis, she improves her knowledge by attending further postgraduate education courses organized by the Latvian Association of Dentists and Hygienists and other courses.
Nave, Basilica di Sant'Apollinare in Classe, Ravenna; taken with a Canon EOS 1v.
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The basilica has a very spacious nave with side aisles. 58 wide windows, including five in the apse, flood the interior with light. The nave is supported on two dozen slender marble columns topped with Byzantine carved capitals. These are not ancient spoils, but a perfectly matched set made specifically for the church in the imperial workshop of Proconnesos. The beautiful capitals are known as the "butterfly" or "leaves blown by the wind" type.
Originally the nave walls and clerestory were covered in mosaics (as can still be seen at Sant'Apollinare Nuovo) but these have all disappeared. The lower part of the wall and the spandrels of the arches are now decorated with frescoes and stucco of the 18th century. The fresco medallions depict bishops of Ravenna.
The floor of the interior was also entirely paved in mosaic, but only a bit of the ancient pavement survives at the back of the right aisle. It includes a partial inscription noting that the work was sponsored by Gautentia and Felix. Above it is a marble altar canopy, with an inscription dating it to the early 9th century. Another mosaic fragment, found in 1953, is displayed on the right aisle wall behind glass.
The west end of the basilica is fronted by a narthex, which contains the small ticket kiosk and some artifacts found in the area. The east end has a large central apse, which is round inside but polygonal outside, flanked by two square chapels known as the prothesis and diaconicon, respectively. The side chapels have small pentagonal apses. The chapel on the right was hosting a baptism during our visit.
The main highlight of Sant'Apollinare in Classe is certainly the glittering mosaics of the presbytery, apse and triumphal arch, which range in date from the 6th to 12th centuries, mostly the former.
sacred-destinations.com/italy/ravenna-st-apollinare-in-classe
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While the Basilica of S. Apollinare Nuovo is the richest in historical culture for its synthesis of the Arian and Catholic religions in the ancient oecumenicity, and while the Basilica of S. Vitale is the most important palatine basilica for the theologies of the Christian Roman Empire, the Basilica of S. Apollinare in Classe is the Church of Ravenna's most illustrious religious building precisely for the celebration of its historical beginnings and for its high position (second only to Rome) in ancient church history.
This basilica is in fact a monument-document of the apostolic-episcopal situation of the early Christian church. Here, on the historical and documentary foundation of the ancient tomb of Apollinare, where a small basilica-martyrion had been built on the tomb of Ravenna's first bishop and only martyr, the imposing imperial-ecclesiastic monument we see was built in the first half of the 6th century.
initaly.com/regions/byzant/byzant4.htm#santclas
Our Dental Hygienist Inita Čeire (SIROWA Riga dental Clinic) explained the main factors that we should focus on choosing toothpaste or mouth wash as well as warned about bad ingredients into dental care products that really can leave bad impact to our health generally.
Our Dental Hygienist Inita Čeire (SIROWA Riga dental Clinic) explained the main factors that we should focus on choosing toothpaste or mouth wash as well as warned about bad ingredients into dental care products that really can leave bad impact to our health generally.
Inita Paulovica, Deputy Head of UNDP in Georgia (right), and Giorgi Khachidze, Minister of Environment and Natural Resources of Georgia (left) at the mini hydropower station in Chiora.
September 2010
Read more about renewable energy in Georgia
Photographer: UNDP/Daro Sulakauri
"Originally called Anticoli di Campagna, the obscure conglomerate of stone buildings gained renown as early as the 1300s, when Pope Boniface VIII claimed his kidney stones had been healed by the mineral waters that gushed forth from the nearby Fiuggi spring. Two centuries later they relieved Michelangelo of what he called "the only kind of stone I couldn't love." Soon the miraculous acqua di Fiuggi was being sent in bottles to all of Europe's royalty. Not until the turn of this century did it become fashionable to make pilgrimages to spa towns, and it was around that time that the King of Italy renamed Anticoli in honor of its most celebrated attraction."
more info here
16. novembrī vēstnieks Indijā Aivars Groza ar dzīvesbiedri Sandru Grozu rīkoja pieņemšanu, kurā tika izrādītas latviešu mākslinieces Initas Rudzītes darinātās rotas un mākslinieces Laimas Kaugures lina izstrādājumu kolekcija. Prezentāciju apmeklēja diplomātiskā korpusa, kā arī Indijas kultūras un uzņēmējdarbības jomu pārstāves.
Foto: Latvijas vēstniecība Indijā
Apse vault, Basilica di Sant'Apollinare in Classe, Ravenna; taken with a Canon EOS 1v.
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SANCTUS APOLENARIS, we read in the center of the apse. A solemn inscription which transmits its capital meaning in capital letters. Thus sanctus Vitalis in S. Vitale: titles and figures, somehow central, but the pregnancy of ancient hagiographic devotion is greatly surpassed in the polysymbolism. In fact the true centre of this ecclesiastic basilica, which was intended to serve for the celebration of the Eucharist, is occupied by one of the most splendid (if not the most splendid) theophanies of Christian antiquity: the great symbolic transfiguration which, a robust treatise of symbolic-mystical theology, occupies the whole apse vault. The glorious cross of the resurrection (metamorphosis of the execution-cross of Golgotha) stands in a dominant position and represents Christ himself, protagonist of the transfiguration. The sheep on the right of the Cross (Christ's right) is Peter, the first disciple.
There follow, on the left, another two sheep: James and John. Whereas the two prophets Moses and Elijah (representing the Law and the Prophets) are portrayed in busts. Moses, on Christ's right, is beardless (because he is a prototype of Christ) while Elijah is on the left (Cf. Mark 9, 2-13).
One who interpreted the Cross and the Prophets in an exclusively eschatological sense (E. Dinkler) admitted finding difficulty in explaining the presence of Apollinare, and even more that of the hand of the Father which appears in the golden sky high above the cross. But if the transfiguration is interpreted as a symbol of Easter, and Easter as an offering, a sacrifice, Holy Communion of the Lamb (and of the Cross), we can better explain how the hand of the Father receives the eucharistic sacrifice (the Mass): a Sacrifice offered for the church and the community of the faithful of the Bishop Pastore Sacerdos who is S. Apollinare. In fact the twelve sheep which, six to a side, go towards Pastor Apollinare represent the church of Ravenna which shares in celebration of the Mass and in response to Apollinare's "Mystery of the Faith!" sings, "We announce your death Lord; we proclaim your resurrection; in awaiting your coming." There is eschatology in this awaiting, but all the rest is what went before: Passion, Death and Resurrection at Easter. The four bishops in the four spaces between the windows should be interpreted in this way, that is to say, in the ecclesiastic and eucharistic sense. Founders of churches (the very first, small and no longer extant sanctus Severus; the cathedral sanctus Ursus; S. Vitale Ecclesius, S. Apollinare in Classe Urcinus) they are the historical support of the Ravenna hierarchy, the preachers of the Gospel (which they hold in their hands), the heads of the liturgical congregation of the people of God of the New Testament, inaugurated by sanctus Apolenaris.
initaly.com/regions/byzant/byzant4.htm#santclas
16. novembrī vēstnieks Indijā Aivars Groza ar dzīvesbiedri Sandru Grozu rīkoja pieņemšanu, kurā tika izrādītas latviešu mākslinieces Initas Rudzītes darinātās rotas un mākslinieces Laimas Kaugures lina izstrādājumu kolekcija. Prezentāciju apmeklēja diplomātiskā korpusa, kā arī Indijas kultūras un uzņēmējdarbības jomu pārstāves.
Foto: Latvijas vēstniecība Indijā
Tālivalža Kronberga fotogrāfiju kopums ""Dūmlogu" fotopiezīmes 2021" www.flickr.com/photos/kronbergs/albums/72177720295820772 (Nr.6) — "Kaut kāda sazin kāda trāpījās ceļā. Vasara. Mežs. Sēne". 2021.gada 26.jūnijā. #krimulda #dūmlogu #fotopiezīmes2021 #kaut #kāda #sazin #kāda #trāpījās #ceļā #vasara #mežs #sēne // Sugu enciklopēdijas "Latvijas daba" sadaļa "Sēnes": www.latvijasdaba.lv/senes. // Egitas Zviedres raksts "Sēnes Latvijā" "Nacionālajā enciklopēdijā": enciklopedija.lv/skirklis/7260-s%C4%93nes-Latvij%C4%81. // Latvijas Nacionālā Dabas muzeja www.dabasmuzejs.gov.lv karšu izdevniecībā "Jāņa sēta" www.kartes.lv klajā laistā Initas Dānieles un Diānas Meieres grāmata "Lielā Latvijas sēņu grāmata": www.kartes.lv/lv/product/gramata-liela-latvijas-senu-gramata. // Tālivaldis Kronbergs — "25.marts, mājas "Dūmlogi" un okupācijas sekas": www.delfi.lv/news/versijas/talivaldis-kronbergs-25-marts-....
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This week our clinic honored the Environmental Film Production Studio’s creative team (Vides Filmu studija) that had chosen our clinic for video shooting that going to rise awareness about oral hygiene production impact to human health and environment. Together with our dental hygienist Inita we discovered the bad ingredients into tooth pastes – are toothpastes really good for our teeth and environment?
Our Dental Hygienist Inita Čeire (SIROWA Riga dental Clinic) explained the main factors that we should focus on choosing toothpaste or mouth wash as well as warned about bad ingredients into dental care products that really can leave bad impact to our health generally.
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A close up of the madonna in the name of the church, Madonna del Parto.
For more about Sutri, have a look at en.wikipedia.org/wiki/Sutri or www.initaly.com/regions/classic/michael.htm
Mosaic Three Kings, Basilica di Sant'Apollinare Nuovo, Ravenna; taken with a Canon EOS 1v.
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The absence of the abbreviation of the holy name MP (Meter) OY (theon), Mother of God, could be a sign of the refusal of Theodoric's Arian court to accept titles with Catholic meanings. The Roman model of the Mother of Christ and Mother of God is that of Sixtus III in S. Maria Maggiore. The inscriptions were not inserted into the Catholic integrations, the reason being that archbishop Agnello did something more: he added the Three Wise Men adoring the Christ, by divine revelation of the star, true man and true God, in the full concept of the Trinitarian and Christological faith of the ancient Christian ecumene.
initaly.com/regions/byzant/byzant4.htm#basnuo
One of the Church's best looks on the Madonna and Child at Madonna del Parto.
For more about Sutri, have a look at en.wikipedia.org/wiki/Sutri or www.initaly.com/regions/classic/michael.htm
Mosaic Madonna, Basilica di Sant'Apollinare Nuovo, Ravenna; taken with a Canon EOS 1v.
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The remaining mosaics - the standing prophets, processions of saints, the Three Magi, and the large Virgin and Child - date from the Catholic period around 560 AD. At this time the palace of Theodoric and port of Classe were severely altered to remove all portraits of the Arian Gothic rulers.
sacred-destinations.com/italy/ravenna-st-apollinare-nuovo
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Madonna (122 x 298 cm.)
A mosaic of extraordinary iconographic and iconological richness. The iconography describes the solemnity of the mother of Christ, seated on the throne, and of a Christ no longer infant but adolescent; in any case old enough to reign and bless with the command of the right hand, and to represent Wisdom and the Light of the World with the sacred book (the scroll) held in his left. The absence of the abbreviation of the holy name MP (Meter) OY (theon), mother of god, could be a sign of the refusal of Theodoric's Arian court to accept titles with Catholic meanings. The Roman model of the Mother of Christ and Mother of God is that of Sixtus III in S. Maria Maggiore.
initaly.com/regions/byzant/byzant4.htm#basnuo
Jesus, Basilica di Sant'Apollinare in Classe; taken with a Canon EOS 1v.
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The mosaics on the upper part of the triumphal arch (or choir arch) date from the 9th century. Against a dark background are the symbols of the Four Evangelists in flight, with a bust of Christ in the center. The winged ox, symbol of St. Luke, is quite unusual: rather like a Picasso painting, its head is very distorted, with the nostrils shown frontally but the rest in profile.
The area below these figures shows the holy cities of Bethlehem and Jerusalem, from which twelve lambs emerge and ascend a hill toward Christ. These represent the Twelve Apostles.
Below, squeezed in along the sides of the apse, are palm trees. These mosaics date from the 7th century, as do the figures of the Archangels Michael and Gabriel carrying banners. At the bottom on each side, busts of the Evangelists Matthew and (probably) Luke date from the 12th century.
sacred-destinations.com/italy/ravenna-st-apollinare-in-classe
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Christ (44 x 44 cm.)
The head of Christ at the center of the glorious cross in the apse of S. Apollinare in Classe is an icon of the highest importance in spite of the limited proportions of the artistic form quantitatively and perhaps also qualitatively. In fact a Christian apse should be dominated by the figure of Christ; but in Classe the icon of the martyr saint and proto-bishop Apollinare, more or less central, and the great cross (also more or less central) occupy the privileged space. So the Savior's face (with three inscriptions appended - Alpha and Omega, Salus mundi and IXOYC) gives a definitive meaning to the cross. Furthermore, where the glorious cross is the celebration of the Easter Resurrection, all that remains for the bearded face of Christus-homo is to express the message of the passion and death on Golgotha. Thus this bearded face of Christ should be considered in the symbolism of the center of the world, the cosmic universe; and center of the world of history in the mystery of salvation.
initaly.com/regions/byzant/byzant4.htm#santclas
In Oct, 2013, the delegation of China Aluminum Window Door and Facade Expo attended the MADE EXPO inItaly, started the promotion journey of after Singapore, Through in-depth interviews and promotion at the expo to have local suppliers and buyers know more about China Aluminum Window Door and Facade Expo that will be held during Mar 9 to 11 in 2014.